The record changer (Feb-Dec 1948)

Letter to the Editor It becomes ever-increasingly evident that the matter of assembling and maintaining a comprehensive library of classical music on records calls both for considerable economic means and a large allotment of "free" time in which to indulge the pursuit. So much that is of more than passing interest and value is becoming available month after month that the reviewer who long since has had to forego the luxury of second judgments now finds himself forced to admit that the lack of adequate study time precludes the formation of respectable judgments on the performance and recording of the many types and forms of musical manifestation which find their way to his workroom. Therefore, since the matter of publishing trustworthy reviews can no longer devolve upon an individual but must, in fairness to the reader, be managed through departmental channels, it becomes the editor's responsibility to find and appoint a staff of writers possessed of qualities and qualifications germane to whichever branch of musical manifestation each as an individual finds most seeming to his aesthetic affinity. Now, your newspaperman-critic may be something of a word-wizard ; his scope may conceivably embrace opera and the Lied, symphonic and chamber repertoire, an understanding of the historical aspects of musicology and/or a flair for expressing the whys and wherefores of contemporary experiments. Possibly. But even in the days of the giants there were only a few (Aldrich, Huneker, Krehbiel come to mind) whose work survived the late city edition and passed from journalism into literature. Today Specialisation is the word, for those who write of records are not getting into print on page 24 just for today; rather are their opinions likely to have an influence of several seasons' import to their trusting followers. And so we find that it is best to pick your opera man and see to it that he abstains from crucifying the cellist whose art is foreign ; upon securing a Lieder specialist, it will be just as well that you allow him to do his lambasting of Orpheus In Hades on his own time by word of mouth rather than in your precious magazine. Likewise, the fellow whose claim to notoriety is founded upon puissant insights concerning Motets, Madrigals and Chansons should not be expected to provide the most authoritative copy on Delius. And so on. For my own part, somewhat because my time is severely limited but principally because I'm a hell of a clever fellow, I simultaneously join and dodge the issue in the following manner : I shall select recordings from whatever musical family happen to summon my interest about two weeks prior to each deadline, dope myself on them with reasonable assiduity and write out something which seems to me to be just, readable and valuable to those who are interested to the point of looking over the material below the byline. This I will NOT do: I will not play through any record or compendium of records once and then dash to the typewriter ; nor will I, having ascertained that WQXRFM is broadcasting so-and-so's Such-and 16 if raw Edward Hill such, switch on the gadget with the idea of picking up the opportunity of bamboozling the public with prescient tricks. (You'd be surprised how much of this sort of thing has been going on, especially since the recording companies cut down their press lists.) Oh, by the by, old boy, I'm not doing an article for you this month. Much too busy taking notes for a book that probably never will be written. Tentative title : "My Affair With the Phonograph." The work draft now runs to about 600 pp. and no end in sight. Looking it over, there are parts of it that take me quite aback, reminding me of the radio announcer who once said, "I haven't the remotest idea of what it means but I sure as hell know how to pronounce it." Whilst goofing off on my obligations to you, I've been having a good time with records nevertheless. Robert Shaw and his gang have had a go at the Bach Magnificat. Good as the recent Cantata albums were, this is, I think, more likely to succeed. No phony ritards here and that's good news (Victor 1182). Wanna spend an evening in Heaven? Buy a Victor album (1181) called "A Treasury of Harpsichord Music." The word Treasury really means it this time. Fourteen pieces of enthralling music by the old Royal Court crowd (Bach, Vivaldi, Handel, Mozart, Couperin, Scarlatti, Rameau, et al.) played to the hilt by Wanda Landowska, handsomely reproduced on the best of surfaces. The artiste's musicological notes, pages and pages of them, are bound into the set and there are interesting illustrations in good measure. A cherishable release. I hope it pays off, so's there can be more experiments of like enterprise. Don't ever get hooked into the radio business; it's a trollop's life. The latest affront to come my way is the assignment to do something called "The Tavern Boys." Freddie Mendelsohn plays old time popular tunes on a beat-up cat-house piano and I fill in with nostalgia-angled continuity. Y'know, I rather enjoy doing the show and the request-mail-response is beyond our wildest dreams. If my "Opera Club" listeners ever find out that I'm the Eddie of "Freddie and Eddie" my petard is hoist. What are you giving me for my birthday? (Editor's Note: Master Hill is, as he tells us above, quite a clever fellow. Much of the above which concerns his non-RC activity is news to me, since he steadfastly refuses to visit this office. I must manage to get around him somehow for there seems to be something to be gained through knowing him personally. The "Tavern Boys" program, of which he writes, is on the air over WBNX, New York, 1380 k., Monday through Saturday at 4 P. M. and I find it quite refreshing to hear. It's difficult to believe that the voice of "Eddie" and the hale-fellow-well-met banter which issues from it belong to the same man who sent me such a scholarly review of Handel's chamber music a short time ago. It took all my powers of persuasion to secure his permission to print the letter which comprises the above article. I hope you've found it as entertaining and instructive as I did. B.G.) I Records Noted TEYTE AND TAG1IAVINI When you and I were young, Maggie Teyte was singing beautifully the French art song literature and had besides brought dignity and charm to a number of difficult operatic characterizations. That she remains able to impart vocal grace to her music today seems cause for wonder among those to whom the fundamentals of singing are hallowed mystery. The culo rotto faction of Miss Teyte's: "cult" harbors certain illusions which need not be discussed here save to remark that, thanks to its simpering antics at her public functions, ladies and gentlemen find it a matter of more seemly creature comfort to receive the artiste's message in the comfort of their homes. Not too wide a range of Miss Teyte's music on records has been made available through domestic release and this is a pity for much of great merit exists elsewhere that deserves the Victor label. The great popularity of the singer and of such records of her voice as may be bought at domestic prices suggests that importation of certain other matrixes would result happily for all concerned. The most recently issued set (Victor Mo 1169) features half a dozen brief airs from light operas by Gretry, Dourlen, Monsigny and Pergolesi. The material is engaging and of appeal not only to seekers after the obscure but also to those of musico historical enterprise. Inclusion of the songs: French texts with the album notes would have been helpful for the microphone has not done complete justice in projecting the syllabic structure. Jean Paul Morel employs a properly light orchestra in sympathetic: accompaniments. Let everyone who enjoys pure tenor singing in opera take realization that in listening to Ferrucio Tagliavini he is experiencing a glow not very likely to be encountered else where in this lifetime. The encomiums directed on this young man's behalf ar^ entirely justified for, even in his thirties, he is truly an artist of the lyric theatre. Until now Mr. Tagliavini has been deniec the opportunity to earn the royalties which wide distribution of records will assure him but now that Victor has effected its arrangements with Cetra, the picture changes. The arias from L'Elisir d'Amore, Rigo-\ letto, L'Africana and L' Arlesiana are duplications of material recorded by the tenoi some years ago for Cetra. It is said tha' Mr. Tagliavini was not altogether pleasec with those earlier discs. If he has fault tc find with the new Victor records, then h< is indeed an exceedingly self-critical man. Antal Dorati leads superbly wrought ac companiments and the album is numberec MO-1191. De P. St. C. THE RECORD CHANGE}